WALTZING THROUGH EUROPE B ALTZING HROUGH UROPE Attitudes towards Couple Dances in the AKKA W T E Long Nineteenth-Century Attitudes towards Couple Dances in the Long Nineteenth-Century EDITED BY EGIL BAKKA, THERESA JILL BUCKLAND, al. et HELENA SAARIKOSKI AND ANNE VON BIBRA WHARTON From ‘folk devils’ to ballroom dancers, this volume explores the changing recep� on of fashionable couple dances in Europe from the eighteenth century onwards. A refreshing interven� on in dance studies, this book brings together elements of historiography, cultural memory, folklore, and dance across compara� vely narrow but W markedly heterogeneous locali� es. Rooted in inves� ga� ons of o� en newly discovered primary sources, the essays aff ord many opportuni� es to compare sociocultural and ALTZING poli� cal reac� ons to the arrival and prac� ce of popular rota� ng couple dances, such as the Waltz and the Polka. Leading contributors provide a transna� onal and aff ec� ve lens onto strikingly diverse topics, ranging from the evolu� on of roman� c couple dances in Croa� a, and Strauss’s visits to Hamburg and Altona in the 1830s, to dance as a tool of T cultural preserva� on and expression in twen� eth-century Finland. HROUGH Waltzing Through Europe creates openings for fresh collabora� ons in dance historiography and cultural history across fi elds and genres. It is essen� al reading for researchers of dance in central and northern Europe, while also appealing to the general reader who wants to learn more about the vibrant histories of these familiar dance forms. E As with all Open Book publica� ons, this en� re book is available to read for free on the UROPE publisher’s website. Printed and digital edi� ons, together with supplementary digital material, can also be found at www.openbookpublishers.com Cover image: A drunken scene in a dancing hall with a sly customer eyeing a young girl. Coloured etching by G. Cruikshank, 1848, aft er himself. Wellcome Collecti on, CC BY. Cover design: Anna Gatti book eebook and OA edi� ons also available EGIL BAKKA, THERESA JILL BUCKLAND, OBP HELENA SAARIKOSKI AND ANNE VON BIBRA WHARTON (EDS) https://www.openbookpublishers.com © 2020 Egil Bakka, Theresa Jill Buckland, Helena Saarikoski and Anne von Bibra Wharton. Copyright of individual chapters is maintained by the chapters’ authors. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Egil Bakka, Theresa Jill Buckland, Helena Saarikoski and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth-Century. Cambridge, UK: Open Book Publishers, 2020, https://doi.org/10.11647/OBP.0174 Copyright and permission for reuse of many images included in this publication differ from the above. Copyright and permissions information for images is provided separately in the List of Illustrations. 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ISBN Paperback: 978-1-78374-732-0 ISBN Hardback: 978-1-78374-733-7 ISBN Digital (PDF): 978-1-78374-734-4 ISBN Digital ebook (epub): 978-1-78374-735-1 ISBN Digital ebook (mobi): 978-1-78374-736-8 ISBN XML: 978-1-78374-737-5 DOI: 10.11647/OBP.0174 Cover image: A Drunken Scene in a Dancing Hall with a Sly Customer Eyeing a Young Girl (1848). Coloured etching by G. Cruikshank, after himself. Wellcome Collection, CC BY 4.0. Cover design: Anna Gatti. 10. Waltzing Through Europe: Johann Strauss (the Elder) in Hamburg and Altona in 1836 Jörgen Torp This chapter reflects upon the distribution of Waltz music in urban environments. As Derek B. Scott wrote in his Sounds of the Metropolis: Unlike rural types of music, it was produced for urban leisure-hour consumption (urban social dance). That being so, it had the advantage of being more readily available for audiences elsewhere, since cities were beginning to share much in common in the nineteenth century.1 […] Urban popular styles were not as marked by their places of production as rural styles. Cities were much more like each other than were rustic areas.2 The cities were connected via media and via traffic networks, as I have previously shown with regard to the importance of port cities around and before 1900.3 Nevertheless, each city also had its own particular places and environments, unique in the political world of that time. Therefore, it makes sense to investigate case studies that are historically and locally limited. This chapter does so, taking as its focus a two-week window in October 1836 in Hamburg (and Altona). 1 Derek B. Scott, Sounds of the Metropolis: The 19th Century Popular Music Revolution in London, New York, Paris and Vienna (New York: Oxford University Press, 2008), p. 122. 2 Ibid., p. 138. 3 See Jörgen Torp, Zur Entwicklungsgeschichte urbaner Popularmusik unter besonderer Berücksichtigung des Tango rioplatense (unpublished master’s thesis, University of Hamburg, 1989), and Alte atlantische Tangos: Rhythmische Figurationen im Wandel der Zeiten und Kulturen (Hamburg: LIT Verlag, 2007). © Jörgen Torp, CC BY 4.0 https://doi.org/10.11647/OBP.0174.10 284 Waltzing Through Europe Introduction: Strauss’s Orchestra Tours in the 1830s The Waltz is a music and dance genre that reached its zenith in nineteenth-century Vienna. Other, more rural regions may have played a role in the early development of the Waltz going back to the eighteenth century,4 but — at least in regard to the development of musical composition — the Waltzes of the Viennese composers became the most famous and popular throughout the nineteenth century, both in Vienna itself, and on an international level. However, in the case of the Waltz, it would not be sufficient to write its history by only focusing on a certain region or city. One should also take into account its geographical dissemination. As happens readily with urban popular music and dance genres, the dissemination of the Waltz was widespread on an international, and, eventually, intercontinental level. In turn, this dissemination was comparatively quick, in accordance with the growing possibilities of a rapidly industrialising world.5 The Waltz dance and Waltz music may both have had their own, independent means of dissemination, but the dissemination of the music certainly influenced the dissemination of the dance and vice versa. The editing and printing of notated musical works developed quickly.6 Moreover, the live performances of musical pieces by touring musicians was also an evolving factor that had an important impact. 4 See Reingard Witzmann, Der Ländler in Wien. Ein Beitrag zur Entwicklungsgeschichte des Wiener Walzers bis in die Zeit des Wiener Kongresses (Vienna: Arbeitsstelle für den Volkskundeatlas in Österreich, 1976). 5 With regard to Hamburg and Altona, we find, as early as 1806, the little waltzes by the young Friedrich Kuhlau (1786–1832): ‘Hamburgischer Favorit-Walzer’ and ‘Altonaischer Favorit-Walzer’ (see Jørgen Erichsen, Friedrich Kuhlau, Ein deutscher Musiker in Kopenhagen: Eine Biographie nach zeitgenössischen Dokumenten (Hildesheim: Olms, 2011), pp. 50ff). 6 According to the division of media into four groups proposed by Werner Faulstich, written and print media are ‘secondary media’ (1. primary media: media of man (theatre), 2. secondary media: written and print media, 3. tertiary media: electronic media, 4. quaternary media: digital media), see Werner Faulstich, ‘Einführung’, in Grundwissen Medien, ed. by Werner Faulstich, 5th edn (Munich: Fink, 2004), p. 9. However, Faulstich describes as secondary media only various forms of literary media, and does not include music (or dance). The importance of print media for the spread of music is well described in Peter Wicke’s cultural history of popular music (Peter Wicke, Von Mozart zu Madonna: Eine Kulturgeschichte der Popmusik (Frankfurt am Main: Suhrkamp Verlag, 2001)). Here, Wicke particularly draws attention to the invention of lithography by Alois Senefelder (1771–1834) leading to the first lithographic reproduction of a notated musical piece in 1796. 10. Johann Strauss (the Elder) in Hamburg and Altona in 1836 285 Fig. 10.1 Josef Kriehuber, Johann Strauss the Elder, 1835. Lithograph. Wikimedia Commons, Public Domain, https://commons.wikimedia.org/wiki/ Category:Johann_Strauss_I#/media/File:Strau%C3%9FVaterLitho.jpg Johann Strauss the Elder (1804–1849) began touring with a full orchestra, using new means of transport, such as the steam train and steam ship.7 The first of such travels was a short trip to Pest (Budapest) in early November 1833, which he meditated on immediately in his Op. 66: the Waltz Emlék Pestre — Erinnerung an Pesth.8 In the following years, he organised more distant and longer expeditions. In October 1834, he travelled with an orchestra of thirty musicians to Berlin, where he played in several concerts and balls in November. 7 See, for example, Norbert Linke, Musik erobert die Welt oder Wie die Wiener Familie Strauß die Wiener Familie Strauß die ‘Unterhaltungsmusik’ revolutionierte (Vienna: Herold, 1987).